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aAODERJS 
\\/RJTINer 

The Nalfsnal pubtyhm^ (gmpaap, 
Indianapolis. Indiana. 




Copyright, 1895 

BY 

The National Publishing Company, 
Indianapolis, Ind. 


Instructions Applying to Plates and Copies 




PUBLISHED BY 


The National Publishing Company, 


INDIANAPOLIS, IND. 































DESIRABILITY OF GOOD PENMANSHIP 


The subject of penmanship, while by many disregarded or 
made a secondary consideration in educational attainments, is 
fast gaining a position of the first importance with the leaders 
of education. 

Careless and illegible writing is no longer tolerated. The 
day and age has come when the young man or young woman 
who aspires to reach recognition in the business or social 
world must be master of a good handwriting. 

One of the first questions asked applicants for positions in 
business firms is, “Can you write a good, practical, business 


hand?” If the applicant does not write a plain and rapid 
hand, he is not wanted. Those who apply by letter receive 
little attention unless the application is written in a hand 
indicating a mastery of business writing. 

A well written letter is a weighty recommendation to a 
stranger, and at once arrests attention to the writer and 
creates toward him a favorable impression, which, when up¬ 
held by other business and moral qualifications, often secures 
the position sought for. 

The progress of writing during the past few years has 


3 


been remarkable, and the standard has advanced from a slow, 
inartistic style to one noted for its speed and beauty, losing 
nothing in legibility. 

Poor writers must work up or give way to those who handle 
the pen with skill and speed. Banks, wholesale houses, 
factories and offices of every kind doing a large business must 
have good writers in their clerical department. They have 
no room for illegible and slow writers. 

Anything worth doing is worth doing well. There is 
a right and a wrong way to everything. As the world 
advances competition strengthens, and it is only he who 
uses particular care to do everything he does well and 


right that commands popular esteem sufficient to make his 
work a success. 

If one learns to write well it is certain to prove itself a 
very important factor in a successful business career. Every 
good writer, no matter what line of business he may be follow¬ 
ing, finds that he is very materially benefited by his writing. 
Who is there who does not admire good writing, and who 
would not like to be able to execute it? Then why not learn? 
It is but a question of time, and only requires persistent prac¬ 
tice from good copies and clear instructions to acquire a good 
handwriting. Why some persons will almost disgrace them¬ 
selves with their poor handwriting is hard to understand. 


4 


Many persons who possess high intellectual and moral 
attainments are deficient in this power of communication used 
every day ot their lives, and only next in importance to the 
use of the tongue. The great volume of the business of the 
world is principally done through correspondence, and, not¬ 
withstanding the typewriter is used for a portion of this, the 
pen loses none of its importance. 

Time is valuable, hence the necessity for good work rapidly 
;xecuted, otherwise the inevitable failure of those who cannot 
rse in their clerical work a clear, rapid style of penmanship. 

d he successful and ambitious business man is continually 
r ying to formulate some plan by which he can lessen labor, 


economize time and save expense. Thus he employs clerks to 
do his writing who can accomplish the most work in this line 
and yet execute it neatly and plainly. 

A careful observer needs little argument to convince him 
that skillful penmanship pays, and wonders within himself 
why more young men and young women do not master this 
branch of education which always yields such a rich reward 
to its possessor at any age in any position. 

WHAT IS GOOD WRITING? 

The best critic is the man of business—he who comes in con¬ 
tact daily with the requirements of the busy world along this 
line; he will not say it is any accurate copy-book style; he will 




say it is writing embodying three elements : speed, legibility 
and beauty ; and these three combined make good writing ; 
any style to be successful must embrace these three elements. 

MUSCULAR MOVEMENT PENMANSHIP. 

This is now the only recognized movement by which to 
acquire a practical handwriting. It facilitates speed and is a 
preventive of weariness, and harmonizes with beauty, and 
any one who aspires to a good handwriting must gain it along 
the road of muscular movement. 

Muscular movement as applied to penmanship is the action 
of the fore-arm resting and rolling on the large muscle below 
the elbow, without any action of the finger and thumb, which 


are used merely to hold the pen and form a slide for the hand, 
moving only as the fore-arm moves. 

When we say the fore-arm is to roll on the large muscle 
below the elbow, it is not meant that it may slide. There is a 
difference between rolling and sliding ; nor does rolling, as 
here applied, mean that the fore-arm rolls over and over, but 
is meant that it rolls back and forth on the muscle. 

Every one who expects to acquire good writing must 
master this movement. This is the place to begin. In learn¬ 
ing anything, as in performing anything, there is a right place 
to begin ; and, in writing, muscular movement is the foundation 
without which a practical handwriting can never be acquired. 


6 


FINGER MOVEMENT. 


ANALYSIS. 


In finger movement there is no action of the arm whatever— 
everything being entirely stationary above the wrist. The 
fingers and thumb do all the work. 

The tendency of all being to write with the finger movement, 
this will have to be carefully guarded against, until the muscular 
movement has been perfectly mastered, as it is impossible to 
write a smooth, easy and rapid hand with the finger movement. 

A slight finger movement is used to advantage in connec¬ 
tion with the muscular movement in forming a few of the 
letters, but this must not be used until the muscular movement 
has been perfectly acquired. 


The person who masters a practical handwriting gives very 
little credit to analysis. Analysis was originally intended to 
develop form, but it does this very poorly and excludes move¬ 
ment entirely. 

The only successful way to acquire form is by close observa¬ 
tion and the devotion of a sufficient time for diligent practice 
from the plates furnished in connection with this work. 

MATERIALS. 

The best is none too good. Good work cannot be done 
with poor tools. 


7 


PENHOLDER. A common straight penholder with a 
tapering stem is preferred for business writing, and an all wood 
or rubber holder is decidedly the best. Avoid all holders with 
a polished metal piece at the bottom, as they will be apt to slip 
in the lingers and are difficult to hold. 

PENS. Avoid a stub or a very fine pen. Use one with a 
medium point, as best results will be secured in practicing 
with this. 

INKS. Procure a strong black ink that Hows freely, and 
see that it is always kept thin. Always keep the ink closed 
up when not using, to prevent dirt from settling in it. 

PAPER. A good quality of foolscap paper is decidedly 


preferable for practice. Avoid soft, spongy paper, as a firm 
quality with a hard surface gives the best results. 

POSITION AT THE DESK. 

Sit squarely facing the desk with both arms resting on it 
and at right angles with each other. Adjust the chair so that 
by sitting moderately erect the body is about an inch from the 
edge of the desk. 

It makes very little difference whether the feet rest squarely 
on the floor or not, as it is hardly to be supposed that a person 
writing at a desk all day is going to retain exactly the same 
position from morning till night. 


8 


Do not allow the back to bend between the shoulder and 
the hip. Let the position be easy. 

POSITION OF THE HAND. 




The right hand should rest with the palm down and not 
over on the edge. Let the little linger slide on the nail or on 
the first joint if it does not stick to the paper. There can be 


no objection to both of the last fingers resting on the paper if 
they slide smoothly. Keep the wrist off the table, especially 
until muscular movement is well developed, and see that it 
moves freely with the fore-arm. 

The left hand should be kept on the table and used to hold 
the paper stationary when writing, and when it is wanted 
in another place to move it so as not to disturb the right hand. 

HOW TO HOLD THE PEN. 

Hold it between the thumb and first two fingers, with them 
as nearly opposite as possible, so as to hold it firmly, but do 
not grip it. Gripping a pen is holding it so tight that the 


9 






nerves of hand and arm become on a tension which soon pro¬ 
duces nervousness. 

Let the holder drop between the big joints of the first 
finger and thumb, and keep the holder pointed in the direction 
of the right shoulder and the pen squarely on its point and not 
on edge, as this causes pen to scratch. 

The holder should cross the two fingers about the first 
joint to the right of the nail. Hold well down toward the pen. 

POSITION OF THE ARM. 

To be in harmony with the position of the body, already 
described, the right arm should rest on the table so that the 
elbow bone is almost even'with the edge. Avoid placing the 


arm too far on the table. Keep it within easy control. Do 
not bear any weight on the right arm. 



io 














POSITION OF THE PAPER. 


Place the paper obliquely on the desk so that the lower 
right-hand corner and the upper left-hand corner are in line 
with the fore-arm. This is a good rule to follow, but with 
some it may be varied a little. Keep the top end of the paper 
well to the right, which will avoid writing with so much slant. 

Keep several sheets of smooth paper under the sheet being 
used, as good writing cannot be expected on a springy surface. 

MOTION. 

It is a known fact with good writers that the beauty of 
writing depends upon the motion with which it was executed. 


Slow and irregular motion produces heavy and shaky lines 
with irregular spacing. Rapid and regular motion produces 
a smooth line. Regular motion all the way through endows 
the writing with grace and beauty. 

To the trained eye, all writing shows at a glance the motion 
with which it was executed. To secure satisfactory improve¬ 
ment the motion should be easy and regular as clock work. 

PRACTICE. 

In practice as in other things, adopt system and method. 
Begin at the beginning and work to an end, and do not attempt 
to work from the end backward. Follow the work as herein 




laid down, being careful to do everything reasonably well be¬ 
fore leaving it. 

Stay with one exercise or letter as long as patience will 
possibly admit before taking up another. However, when 
completely tired of one thing try another—thus judiciously 
changing and keeping up interest in the work. 

Those who have made the greatest success of penmanship 
are the ones who have felt it a pleasure to sit and practice. 
One of the great necessary features is perseverance. Many 
young people become enthusiastic over writing for a little 
while, but perseverance gives way, practice is neglected, and 
interest finally dies out. 


The only sure way of acquiring a good handwriting when 
once started is to devote as much time as possible to it every 
day. Not occasionally, but constantly. In order to get the 
full benefit from this work it is necessary to set aside a stated 
regular time for practice and to permit nothing to interfere. 

A reasonable season of constant practice will develop sur¬ 
prising results. 

NEATNESS. 

Give this subject study and careful attention, making all 
practice and writing as neat as possible, for upon this hinges 
a great deal. Writing, to attract attention, must be clean and 
neatly arranged, as neatness always excites favorable comment. 


12 


SPECIMENS. 

It is suggested and recommended that, upon beginning 
practice from this work, the student should lay aside a 
small specimen of his writing and not look at it again for 
some time. 


After another season of faithful practice, another speci¬ 
men can be selected and compared with the first one. This 
method should be continued from time to time, as it records 
improvement and proves an inspiration when faithful work 
has been done. 


\ 


13 


INSTRUCTIONS APPLYING TO PLATES AND COPIES OF THE WORK. 


PRINCIPLES. 

For convenience in explaining the letters and exercises of 
the plates, use is made of four principles, as follows : First, 
the straight line. Second, the right curve, which curves to 
the right of an imaginary straight line. Third, the left curve, 
which curves to the left of an imaginary straight line. Fourth, 
the compound curve, which is made up of a combination of the 
right and left curves. It may curve in any way and be a com¬ 
pound curve so long as the right and left curves enter into 
its composition. 


The Base Line is the line written on, whether real or 
imaginary, as in the case of unruled paper. 

PLATE No. 1. 

This plate is to be diligently practiced by every one, no 
matter how well or how poorly they write. The value of 
these exercises cannot be overestimated. They develop mus¬ 
cular movement, light touch, strength and regularity of motion. 
From five to ten minutes’ work on this plate should precede 
every practice hour. 


Proceed in the directions indicated by the arrows. Make 
no sharp turns, but work until regular and perfect ovals are 
obtained. Touch the paper lightly ; make strokes as fine as 
can be produced. 


PLATE No. 2 . 

This is rather a continuation of the former plate. Follow 
the suggestion concerning it, remembering that the absolute 
necessities are, easy movement of arm, light touch, regular 
and rapid motion. 

Study carefully the form of the letters on the bottom line 
before beginning practice on them. 


PLATE No. 3 . 


With these exercises develop a free movement from side to 
side. Continue them the entire width of the paper without 
raising the pen. Make these letters oval at the top, pointed 
and retraced at the bottom. 

Space them regular. No exercises can produce better re¬ 
sults than these. 

PLATE No. 4 . 

A continuation of plate No. 3, although different forms, 
practice from these develops same results, flowing motion. 
Observe that “o” is a complete oval. Close it at top and 
make connecting line a Compound Curve. 


5 


The “a” is more slim than “ o,” pointed at top. It is 
joined also with a Compound Curve. 

PLATE No. 5. 

A continuation of plates Nos. 3 and 4. The main features 
for close attention are, regular spacing and an easy muscular 
movement. In running these across the sheet, see that neither 
the hand nor the finger sticks in the least. 

The “ v ” begins with a Left Curve, making it oval at top. 
The “ u ” begins with a Right Curve, making it sharp. Both 
letters have the same finish, which requires close study and 
practice to master. 


PLATE No. 6. 


The all-important feature yet to be kept in mind by the 
student is the development of a free and easy muscular 
movement, hence the continuation of plates designed for this 
purpose. 

See that no finger movement is used. These exercises can 
soon be mastered with a flowing muscular movement, but with 
nothing else. Avoid angular turns where there should be oval 
ones. Retrace lines that are in the copy retraced. 

PLATE No. 7. 

Small letters are now taken up, but keep at work now and 
then on plates preceding. 


The “a” form is embodied in all four of these letters. 
Close it at the top ; avoid making a hook at the beginning of 
first down stroke. It should be narrow and pointed at top. 

Be painstaking with all practice and write the copy lines 
as well as possible. 

PLATE No. 8. 

In these three letters are found a similarity of form. Study 
the lines closely, keeping in mind their relation to each other. 

The “m” and “ n” beginning with left curves are oval at 
the top, pointed and retraced at the bottom ; “ p” has the same 
finish. 

Do not forget about movement and spacing. 


PLATE No. 9. 


While in these letters there is at first glance a similarity, 
closer observation will show a greater difference. These are 
classed together for the purpose of calling especial attention 
to the “ y ”—it is so often made wrong by beginning it with 
Right Curve instead of Left Curve. Remember the l ‘y” be¬ 
gins with Left Curve and “ u” with Right. Make both oval 
at bottom turns. 

In joining last part of “ h” to stem, retrace the line, being 
sure not to leave it open. 

Perseverance will master any form that may fascinate the 
student, although it may be something new to him. 


PLATE No. 10. 


These letters begin with opposite curves, but the finish is 
the same. The dot at close of all of them will require close 
attention. To make it, retrace very slightly, at the same time 
bearing on the pen to make the necessary shade. 

PLATE No. 11. 

The “c” here given is, for business purposes, much pre¬ 
ferred to the kind having the loop at the top. Begin this 
with a mere dot, and make the body a regular oval. 

Make a loop of the “ e.” It is too easily mistaken for 
another letter when the lines are run together. 


Make the cross to the “x” upward. The Compound 
Curve is preferred instead of the straight line generally used. 
It would be well to review many of the former plates, giving 
much additional attention to movement drill. 

PLATE No. 12. 

These two letters are one-fourth higher than “m” and 
similar letters. Each begins with a Right Curve. It will 
require close attention and diligent practice to master these 
letters. 

PLATE No. 13. 

These letters are three times as high as “ m,” and are 


called loop letters. Make the loops slim and oval at the top. 
Pointed loops will not do. Notice particularly the finish 
to “ k.” 

Practice on “ 1 ” separately until the loops begin to look 
about right. Be sure to bring them to the Base Line before 
turning. Make the back of the loop perfectly straight with 
the exception of the turn which it necessarily takes to make 
the oval top. 

PLATE No. 14. 

These letters all extend twice as far below the Base Line 
as the “ m ” does above. The same suggestions apply to these 
loops as to those on plate No. 13. 


PLATE No. 15. 


These letters are twice as high as “ m.” Two forms of 
each are given—the last ones being preferred for rapid 
writing. Retrace the up-and-down strokes of the letter “ t” 
well. Avoid leaving it open. 

PLATE No. 16. 

Each of these letters begins with a Right Curve, each 
pointed at the top. 

Dot the “i” and “j” directly in line with its slant and 
as far from the top of the letters as they are above the Base 
Line. In other words, the dot belongs on a line with the 
tops of the “ t” and “ d.” 


'9 



Put life into all practice. Bold and decisive strokes pro¬ 
duce good writing. 

PLATE No. 17. 

All practice on capital letters should be preceded by 
about five minutes’ work on movement exercises, contained on 
plates No. i and No. 2. The main point to be kept in view 
is a rolling motion, producing full and regular ovals, instead 
of slim ones with pointed turns. All capital letters are 
three times the height of “ m.” 

In “A” notice that the form is the same as in small “ a,” 
but that it is left open at the top. 


Make the lines of “ C ” perfect ovals and as nearly parallel 
as possible. 

The top of “ E ” is not so long as the bottom part, and 
they are connected with a good sized loop. Avoid getting 
the back of this letter too straight. 

“O” should be made a perfect oval. Work on retraced 
oval exercises on Plate No. 1 to develop this letter. 

PLATE No. 18. 

All three of these letters make fine movement exercises 
when combined. Practice on them in this way will be found 
quite beneficial. Make as many as possible without raising 
the pen. 


20 


After making the first stroke to “ B,” retrace with the one 
following, thus avoid leaving it open. Connect the two ovals 
with a good sized loop. 

“ R” may be made in a similar manner as “ B,” or like 
copy. Study all forms given and imitate copy as closely as 
possible. Avoid getting the lines heavy and stiff'; if they are 
of this kind, more muscular movement is needed. 

The stem of “ D ” is a Compound Curve. Make the loop 
at the bottom of the stem slim and rather long up and down. 
Then descend to base line (not below it) before turning up 
with the body of it. 

The student should practice faithfully on all of the words 


given on these plates, and then think of other words beginning 
with these letters and work on them. 

PLATE No. 19. 

Begin these letters with a small loop as in copy. In “ M’’ 
and “ N ” retrace the down stroke with the up ones so as to 
make the stems pointed at the bottom, except in finishing, 
when the Right Curve is used, making that turn oval. Do 
not make pointed turns at top, and make the “ M ” slant so 
that the top is oblique. 

“ Q_” should be made as oval as possible, with a nice 
regular loop. 


21 



The last line on the page is excellent for developing a 
strong movement on small letters ; it also affords the best of 
practice on “ nfs” and “ n’s,” letters so often used in all 
writing. 

PLATE No. 20. 

Begin these three letters with the same loop as the letters 
on preceding plate. But observe that all bottom turns to 
these letters are oval. The stem to these, instead of being a 
Right Curve, as in “ M,” is a Compound Curve. It will take 
diligent practice to make this stem well. 

The last part of these letters extends only two-thirds as 
high as the first part, or same height as small “ t” and “ d.” 


22 


PLATE No. 21. 


These letters begin with the same small loop as the letters 
on the two preceding plates. While the stem to those on plate 
No. 20 is a Compound Curve, the stem here is a Right Curve. 

Make the turns at the bottom of “ W” pointed. Endeavor 
to get the first and last parts of “ X ” to join. 

“Z” is considered a difficult letter to make. The main 
points to avoid are an angular stem and long loop at the bot¬ 
tom. Join top and bottom with a small loop. 

PLATE No. 22. 

The two strokes to each of these stems are full Right 
Curves pointed and retraced at top. 


The last part to body of “ H ” is a Left Curve and not a 
straight line, as is used by many. Make the cross lines regular 
curves. 

The first stroke to finish of “K” is a Compound Curve. 
A Right Curve is too often used. Make one using a Right 
Curve at this place and observe the difference in appearance. 

In making “ P” bring most of the body of it to the left of 
the stem, making only enough to the right to enclose the stem 
at the top. 

PLATE No. 23. 

Be sure to make the stem to each of these letters a Com¬ 
pound Curve. Nothing else gives them the right appearance. 


The tops to “ F” and “T” must have careful study as well 
as careful practice. Do not bring the loop of the top too low, 
not lower than one-third the height of the stem. See that the 
finishing stroke is a Compound Curve. 

The stem or down stroke to “ L ” and “ S ” must be a full 
Compound Curve (more curving than in most other places), 
and the up stroke should cross it about the center or at the 
junction of the Left and Right Curves. 

PLATE No. 24. 

Begin the letters of this plate on the Base Line (not above). 

The “J” should be made straight on the back, and the 
top oval a little larger than the bottom one. 


23 


Make the stem of “G” pointed and only one-half the 
height of the entire letter. 

PLATE No. 25. 

This is one of the most practical plates of the whole series. 
In all clerical work good writing is of little account without 
good figures. And figures are not good unless they are plain 
and made quickly. 

Make them with the same muscular movement as in 
writing, use as light a touch as can be had, and work until 
their forms are moderately correct. Make them rapidly. 
Practice until miscellaneous figures (same as on second line of 


plate) can be made well at from ioo to 125 per minute. This 
may at first seem a high speed, but practice will soon develop 
even a higher rate. 

Study the figures carefully and make them cautiously until 
their forms are firmly fixed in the mind. Particular attention 
is called to a few figures. 

Be sure to make the bottom line of the “4” horizontal 
(exactly parallel with the Base line). The top of the “7” 
the same way. 

Make the stem of “ 5” short and the cross joined to it at 
the top. Make “ 0 ” a full oval, and the first part of “9” 
same as small “a.” The stem of “7” and “o” come below 


24 


the Base line, the others all rest on it, except the “ 4,” whose 
bottom is only a slight distance above, and the last stroke 
stops at the Base line. 

Considerable practice is necessary on the mark. 

Practice on making figures in columns and lines, getting them 
straight every way. Figures should receive daily practice. 

PLATE No. 26. 

On this plate is found form for a bill of goods. While 
different forms are sometimes used, this one is quite general 
and everywhere considered appropriate. Study its form care¬ 
fully. Write and rewrite the letter until the form of it is 
thoroughly understood. Notice also the punctuation. 


PLATE No. 27. 


This is a continuation of No. 26. Practice on these letters 
faithfully, remembering that the correct spacing of the words 
adds much to the appearance of the writing. Words being 
too close together or too far apart never look well. Leave 
about the width of small “ i ” between the words. 

PLATE No. 28. 

It is not supposed that by the time the student reaches this 
plate he is through with all behind him. Not by any means. 
Plates No. 1 and No. 2 must be practiced continually. Too 
much movement is never obtained, neither is an excess of 
control to be feared. 


25 


PLATES Nos. 29 and 30. 

On these plates is given a style particularly adapted to 
ladies ; it being a small and somewhat running hand. The 
principal points to be observed are, movement, regularity in 


height and even spacing. A nice style should be adopted by 
ladies in all correspondence and constant pains taken to work 
it as nearly to perfection as possible. 


26 
























No. 1. 

























No. 2. 




















































No. 3. 























No. 4. 






































No. 5. 





































No. 6. 



































* 























No. 













No. 9. 













































No. 10. 












No. 11. 








No. 12. 







No. 13. 























No. 14. 
































No. 15. 












No. 16. 
















































No. 17. 















































No. 18. 




















■■ 










































No. 19. 










































No. 20. 


















































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